A Deep Dive into Tang Dynasty Fashion & Makeup

The Tang Dynasty (618–907 AD) stands as a golden era in Chinese history, celebrated not only for its cultural achievements and artistic innovations but also for its strikingly progressive fashion and makeup trends.

Renowned as a period of openness, vibrancy, and global exchange, Tang fashion was marked by a captivating blend of colors and bold experimentation. Women’s clothing styles, characterized by flowing silhouettes, intricate dyeing techniques, reflect the era's focus on feminine power and empowerment.

Equally significant was the era’s makeup, where elaborate techniques and symbolic decorations like huadian 花鈿 — floral marks worn on the forehead—transformed faces into living canvases of art and status.

In this deep dive, we’ll explore the evolution of Tang fashion and makeup, the cultural influences that shaped these trends, and the stories behind the iconic styles that remain an inspiration to modern enthusiasts of historical Chinese fashion. 

Table of Contents

• Tang Dynasty: The Golden Age
• Why is it a "Golden Age"?
• The Four Main Eras
• How was Ancient Makeup Made?
• Special Trends of the Tang Dynasty (Huadian, Xiehong, etc)
• A Deep Dive into Tang Makeup & Fashion Evolution
• Early Tang  690 - 705 A.D.
• High Tang  713 - 766 A.D.
• Middle Tang  766 - 835 A.D.
• Late Tang  835 - 907 A.D.
• Overview
• Men's Fashion 
• Headwear
• Editor's Note

1. Tang Dynasty: The Golden Age

618 – 907 AD

Spanning nearly three centuries, the Tang Dynasty is often hailed as China’s Golden Age, a period marked by unparalleled cultural, political, and economic achievements.

Positioned in time between the tumultuous Northern and Southern Dynasties and the sophisticated Song Dynasty, the Tang era set itself apart through its prosperity, artistic innovation, and cosmopolitan spirit. This era’s influence extended far beyond its borders, fostering trade and cultural exchanges along the Silk Road and impacting neighboring Eastern civilizations.

Why is it called "The Golden Age"?

The Tang Dynasty earned this title due to its extraordinary economic, political, and social stability. The period saw an unparalleled boom in the arts and culture, with poetry, painting, music, and especially fashion reaching new heights of refinement and complexity.

An open-minded government and a populace receptive to foreign ideas encouraged cultural syncretism and innovative thought. The empire’s expansion and formidable military prowess not only secured peace at home but also extended China's influence across Asia, reinforcing its reputation as a cultural and economic powerhouse.

This Golden Age of China was impressively influential with trade and cultural exchanges. You'll find remnants of this grand era's fashions in all Eastern Asian historical clothing. 

Capital City: Chang’an 長安

At the heart of the Tang Dynasty was its magnificent capital, Chang’an 長 (modern-day Xi’an), one of the most populous and cosmopolitan cities in the ancient world with over one million residents.

This thriving metropolis was a melting pot of cultures, religions, arts, and languages, brought together by the constant influx of traders, scholars, and immigrants from across the Silk Road.

Chang’an was not only a political center but also a hub for trade, arts, science, and literature, fostering an environment where innovation and cultural exchange flourished. This vibrant life created a fertile ground for the blending of East and West that defined the Tang period.

From Western Asia, textile prints and popular horse-riding garments mixed with Chinese weaving techniques and silk production, creating a truly unique aesthetic. Envoys from Korea, Japan, and Vietnam would come to the capital, bringing clothing, art, and books back to their home country.

Thanks to constant envoys, scholars, and traders from various countries, little pieces of this golden age can be found throughout Asia. Japan, formerly known as the country of Wa 倭, famously modeled its capital cities Heijō (Nara) and Heian-kyo (Kyoto) after Chang'an (capital of Tang China). 

The Four Main Eras 

The Tang Dynasty’s timeline can be divided into four distinct periods, each contributing uniquely to the dynasty's legacy:

1. Early Tang (618 – 713 A.D.)

The Early Tang period laid the foundation for a powerful and unified state under the leadership of Emperor Gaozu and his successor, Emperor Taizong. It was an era of recovery and consolidation, marked by political stability and military expansion. Cultural and economic groundwork set during this phase prepared the stage for future brilliance.

2. High Tang (713 – 766 A.D.)

Often considered the pinnacle of Tang influence, the High Tang era flourished under Emperor Xuanzong’s reign. This was a time of exceptional prosperity and artistic achievement, characterized by innovations in poetry, music, and the visual arts. The court became a center for dazzling fashion and elaborate makeup, where trends from neighboring regions enriched and diversified Chinese aesthetics. The High Tang period was also noted for its open-mindedness, allowing foreign influences to merge seamlessly into native traditions.

3. Middle Tang (766 – 835 A.D.)

Following the political turbulence brought by the An Lushan Rebellion, the Middle Tang period was a time of gradual recovery. While the central government worked to reestablish control, cultural life remained vibrant. Fashion continued to evolve, showcasing an array of styles influenced by interactions with Central and Western Asia. Makeup and beauty standards also became increasingly gothic and experimental, reflecting the complex social hierarchy and unsettling times.

4. Late Tang (835 – 907 A.D.)

The Late Tang period was characterized by declining political power and a fracturing state as regional warlords gained influence. Despite the political strife, cultural practices continued to thrive on a smaller scale. Fashion adapted to the changing times, reflecting both the opulence of court life and the pragmatism of a society dealing with challenges. This era concluded with the fall of the dynasty, making way for the period of the Five Dynasties and Ten Kingdoms, and later, the Song Dynasty.

Tang Dynasty fashion and makeup is interestingly highly reflective of each period. During hard times of political unrest, trends would take a dark and somber note. While during periods of flourishing economy, trends became colorful and bright beyond belief!

The Tang Dynasty’s fashion and makeup serve as testaments to an era where creativity knew no bounds. Each phase captures the dynamics of an empire that celebrated beauty and innovation as central to its identity.

2. How Was Ancient Makeup Made? 

While the following products can be found in Tang Dynasty makeup, these products and recipes have been used throughout Chinese dynastic history. Each component of the routine has its own unique recipe, sourced from natural and often innovative materials (plus your typical poisonous materials).

A typical ancient Chinese makeup routine often consisted of seven essential steps:

1. Foundation and powder
2. Adding blush
3. Defining the eyebrows
4. Placing decorative huadian 花鈿 on the forehead
5. Adding mianye 面靥 (dimple dots)
6. Applying xié hóng 斜红 (temple cuts)
7. Finally, finishing with lipstick. 

Here’s a closer look at the main types of cosmetics used:

Foundation & Powder - 粉, Fěn
The first step in Chinese makeup was the application of fěn, a foundation or powder. White lead, known as ceruse, was popular among the elite for achieving a porcelain-like complexion, despite its price and toxicity.

For those in lower classes, rice powder was used either in its dry form or mixed with animal fats to create a smoother, longer-lasting base. This practice dates back to the earliest dynastic periods of Chinese history.

White bases have been popular throughout history, cultures, and various countries. However in China, a pale skin tone signified lack of outdoor physical labor, essentially a symbol of wealth and nobility. 

Blush & Rouge - 红粉, Hóngfěn
Hóngfěn, or blush and rouge, was made from a variety of sources. Common ingredients included minium (red lead), vermillion derived from mercury, or natural pigments from safflower. These ingredients were and still are expensive, thus lower class women would use dried rose, peony, beet, and other natural red powders. 

While most blushes were red, there was also a notable use of é huáng (yellow blush) throughout early dynasties, although this trend faded after the Song Dynasty (960-1279 AD). Most popularly used  from the WeiJin to Tang Dynasty. Yellow blush was a symbol of devotion to Buddhism, and originates from women copying the golden glow of gold Buddhist statues.

Rouge has a deep-rooted history in Chinese culture, often applied in unique shapes and techniques to create various facial illusions. To make the face appear chubbier and fuller which was desired during the High Tang, women applied rouge liberally along the lower half and jaw. To make the face appear hollow and angular which was desired during the Middle Tang, light pink and yellow was used along the cheekbones and temple to create a harrowing look. 

Eyebrows & Eyeliner - 黛, Dài
The art of shaping and defining the eyebrows has been beloved throughout Chinese fashion history. Black, green, and blue eyebrows powder and pens are known as dài. Eyebrows was an integral part of any makeup look and were often as intricate as the other elements of makeup.

Women would pluck their eyebrows in various shapes and thickness depending on the era, sometimes even plucking all the hairs off! During the Tang Dynasty, artistic brow shapes were rampant and could vary from thick bird-like brows to simple Shiba Inu-esque dots (like the above gif).

Crushed conch shells and indigo powder were commonly used by the aristocratic class, these expensive options have some truly bizarre colors; black with green or blue hues, or dark violet. While some inexpensive and more common options were charred willow tree pigment and fresh writing inkstone (dry or wet). 

Lipstick - 口红, Kǒuhóng
Ancient aristocratic lipstick, or kǒuhóng, was made from toxic ingredients such as vermillion and minium. While lower class women would use red flowers pigment mixed with wax or animal fats. Fragrant herbs like clove, osmanthus, and jasmine were sometimes added for a luxurious scent.

This combination created bold, long-lasting lip colors that were both striking and fragrant. Due to the thick and viscous nature of the products, the kouhong could be used to paint on other various designs. Such as huadian, mianye, or xiehong. 

Special Trends of the Tang Dynasty

Unique makeup trends emerged during this era. If you want to do Tang makeup, you definitely have to know these! Here are the standout styles:

Huā Diàn (花钿)

These ornamental forehead designs originate during the Northern Southern Dynasty (420-589 AD), but were popularized during the Tang period. Most commonly painted on with red lipstick, but special touches could be added using various materials.

Elite would use pure gold flakes, delicate fish scales, rare feathers, and even small jewels. Painted designs varied from era to era, ranging in size and presence. Most commonly, red floral and natural motifs were preferred but green and blue huadian had a brief moment of popularity. 

Huā diàn originated from the legend of Princess Shouyang of the Northern Southern Dynasty, whose beauty was said to have inspired this trend.

A short version of the legend: Princess Shouyang fell asleep beneath a plum tree when a plum blossom landed upon her forehead. When she woke up, she tried to wash it off for three days and three nights despite everyone being captivated by the floral mark, but to no avail. By the time it faded away naturally, all the other court ladies had started drawing flowers upon their foreheads in hopes of achieving that unique beauty mark and hypnotizing effect. 

Xié Hóng (斜红)

Temple “cuts” that are drawn along the temple down to the cheekbone, known as xié hóng. Also known as "dawn marks", these marks originate from the Weijin Dynasties and were applied in various shapes and motifs. From straight and crescent forms, to designs mimicking animals or flowers.

Crescent xiehong could be drawn on concave or convex to create a wider or narrower face depending on the period's trends, while vertical straight lines created a narrow and dainty facial structure. 

Birds and intricate floral designs were common for elite, as they had more time to draw on these tiny pieces of art. Among the unique designs were flying phoenixes and blooming braided vines. Diamond grids, bouquets, and rainclouds were also popular.

This unique touch was said to have originated from the story of the Xue Yelai, which goes like this: 

Xue Yelai, a famous concubine, was on her way to see the emperor at night, but when she entered the emperor's study, it was very dark and she did not see a large crystal screen in the center. She accidentally ran into the screen, which left two large cuts along her temples. Later, she tried to heal the cut and fade the scar but to no avail. When the emperor saw this, he was so enamored with the makeup, saying it "resembling the rising sun peeking over the horizon". It quickly became a trend for all of his concubines. 

Miàn Yè (面靥)

Dimple dots, or miàn yè, were initially placed on both side of the lips (around 1-2 cm away) but eventually expanded to adorn areas throughout the face. From the tops of the forehead to along the jaw, even around the nose bridge and center of the cheeks.

You can imagine that the designs of mianye are equally as ornate and diverse as the other two trends so far! The most common style you'll see are two simple red dots, but can take on various forms like swans, ponds, raindrops, and small flowers.

Ornate mianye designs that take over the entire face are seen most during the latter half of the Tang Dynasty. During this later period, greens, blues, purples, oranges, and yellow paints were used to create a rainbow effect across the face.

The origin of this trend is linked to the legend of a drunken prince who partied a bit too hard. The legend goes something like this:

The earliest story originates from the Jin Dynasty and tells of how during the Three Kingdoms period, a prince of the Wu kingdom, accidentally smashed his crystal ruyi scepter into his wife during a drunken dance (he was jumping and waving the scepter around in a circle). Though he quickly apologized, cleaned, and dressed her wound with an ointment of powdered otter bones, jade, and amber, the doctors had mixed in too much amber, and as a result, when the lady’s wound healed, she was left with a red spot on her face. This gave her a special, elegant charm, and soon the other court ladies painted on spots to try and emulate her.

Eyebrow Trends 

The Tang Dynasty is renowned for its diverse trends, and eyebrow styles were no exception. Over the course of the dynasty, eyebrows evolved dramatically, reflecting the country's state and cultural climate.

Women experimented with various shapes and thicknesses, often inspired by nature or influenced by cultural events and artistic trends.

In Early Tang, eyebrows were delicate and simple, staying on the thin side. During the High Tang, elaborate shapes, slender, elongated curves, or bold feathered looks. Finally at the Late Tang, styles became increasingly decorative and abstract. Distinct, artistic designs that could be upturned, crescent-shaped, or resembling moth wings.

Lipstick Trends 

Tang Dynasty lipstick styles (outlined in red in the provided image), went through less evolution than the other aspects. Lip styles remained true to the Chinese obsession with "cherry mouth" or "rosebud lips", where lipstick is painted on in a circular and dainty way.

Throughout Chinese history, lipstick was primarily focused on the very center on the lips to create a delicate, feminine, "rose bud" effect. During the Tang Dynasty, fully filled lips and four-leaf clover shaped designs were popular.

Some designs of the Tang period included artistic embellishments, such as the sharply drawn cupid's bow. Unique lip colors such as black, yellow, and purple sets this era apart from the more traditional forms of lip makeup seen in other dynasties. 

3. Deep Dive into Tang Makeup & Fashion

Makeup of the Early Tang

初唐 618 – 703 A.D.

The Early Tang period makeup is defined by balance and understated elegance. Moving away from the more elaborate and "garish" makeup trends of the preceding Northern and Southern Dynasties (see below).

Early Tang makeup instead embraced simplicity and an unpretentious charm. Court women favored minimalistic styles, opting for natural-looking beauty that highlighted subtle, refined details rather than overwhelming features.

This period also saw the emergence of high, elaborate hairdos, which took center stage and reduced the need for heavy makeup. From simple foot-tall updos to sky high rings, hair was decorated with ornate pins and complimented by light peach makeup styles.

Special Mention of the Early Tang: Wu Zhou Period  武周

Despite the simplicity that characterized most of the Early Tang, there was a special chapter during the reign of Empress Wu Zetian known as the Wu Zhou period 武周 (690 – 705 A.D.).

As the only female empress in all of Chinese history, she made many major contributions such as: improving the education system, reforming agriculture practices, funding arts, promoting women's position in society and workforce, building infrastructure, and further expanding Silk Road trade. 

Under her influential rule, makeup and fashion saw a dramatic transformation. Empress Wu, known for her assertive leadership and pioneering spirit, ushered in a cultural renaissance that championed women’s empowerment and artistic expression. She was among the first to start exaggerating her eyebrows and huadian. 

As women's position in society soared, makeup mirrored this expansion and took on blooming, expansive, and eye-catching designs. It seems all aspects of makeup was enhanced - eyebrows thickened, huadian grew larger, xiehong grew longer, blush applied heavily. This not only reflected the confidence women felt, but the acceptance of society for these colorful trends to thrive.

Huadian — transitioned from simple straight forehead lines to "blooming flowers" that stretched across the forehead. Reds were melted into yellows to create colorful ombrés on the head, resembling a colorful sunset.  

As a heyday for feminist ideals, Empress Wu’s reign not only amplified women’s power within the court but also encouraged them to express themselves through fashion and makeup.

Top 3 Early Tang Makeup Trends! 

Clothing of the Early Tang

初唐 618 – 703 A.D.

The most common features of this era? Stripes and skinny sleeves! 

One of the most iconic garments of this era was the Jiàn Sè Qún (间色群), a type of skirt known for its distinctive stripes and length. 

Translated as "joined colors skirt", this skirt was made of many long strips of colored fabric, sewn together to create one garment. The amount of stripes could vary from as little as four, to as many as 32. It must be an even number! 

The more stripes you had, the richer you were. Thus, jiansequn were typically popular amongst the upper class. Lower class women wore simple four or 6 panel skirts, that were called Jiaoyu Qun 交窬裙. 

All skirts were often tied high, either at or just below the bust, creating an elongated and empire silhouette. This was in line with the beauty standards of the time: long and willowy. 

This extra high-waisted design highlighted the various patterned fabrics, and would evolve into the over-the-chest skirt styles of the later Tang Dynasty.

Skirts were paired with short tops, often with large round collars and long skinny sleeves, which balanced the voluminous nature of the skirt with a more fitted upper body. Skinny sleeves that draped over the hands would create a slender figure, while the round collars accentuated the nape and chest when paired with the iconic tall updos. 

An interesting trend we see emerge during this period is the sudden exposure of cleavage. East Asia is conservative with their fashion and China is no exception! But the liberal energy of the Tang Dynasty is a peculiar time where we see conservative fashion take a step back.

The combination of a high-waisted skirt and fitted top created a striking silhouette. Remnants from the previous short-lived Sui and Northern Southern Dynasty such as long skinny sleeves and wide round collar tops continued to be popular. 

Other trends from this period include:

• Tanling 坦领 Collar, which is a unique heart-shaped collar style.
• Skirts with shoulder straps called Beidaiqun  背带裙, which I imagine must've been a nice feature while it lasted. Unfortunately the shoulder strap skirt fell out of popularity later on (and those skirts are hard to keep up!).
• Mofu 陌腹, a style of waist-warmer that eventually became an accessory for women. Could be tied beneath the bust to enhance the figure, or over the bust for a more modest look. 

Makeup of the High Tang 

盛唐 713 - 766 A.D.

The High Tang period was a time of unparalleled opulence and artistic freedom, which was reflected in the makeup trends of the era. Building on the foundation set by Empress Wu Zetian's reign, the role and visibility of women in society continued to grow, inspiring a wave of creativity that saw makeup become more colorful, daring, and flamboyant than ever before.

One of the most notable ideals during this time was the embrace of heavy makeup and heavy-set women. The Tang Dynasty at its peak was marked by wealth and prosperity, and societal standards of beauty reflected this abundance.

Wu Zetian no doubt contributed to this shift in standards, the ideal body type became full and chubby, embodying affluence, fertility, and health. As a result, makeup styles were crafted to highlight and exaggerate rounded facial features, amplifying the appearance of fullness that was so desired.

Makeup during the High Tang was layered and intricate, often featuring deep rouge applied generously to the cheeks and lips, contributing to a lush, lively appearance. Blush was applied not just to the cheeks but extended down and outwards to mimic a heavy “moon-like” face. 

Huadian forehead designs became a bit more simplistic and chunky. Thick motifs of peaches and large round dots are auspicious symbols, reflecting the cornucopia of wealth during this era. For rich women, gold flakes, jewels, and pearls were glued and incorporated into facial designs.

The obsession with roundness and fullness is further seen in hairstyles of the time. Voluptuous, rotund, and droopy styles were popular. In fact, there is a particular style called Duo Ma Ji 堕马髻 or "off-the-horse hair", where it was designed to look like a messy, off-center, and loose bun with a round base.

 

Was this the original messy bun? 

From hair to makeup to clothing, everything was designed to create a moon-like effect. 🌖 

This era is one of true self-expression and freedom, where women embraced bold beauty and unabashed glamour. Every aspect from foundation to eye makeup was turned up to a ten - unapologetically heavy and strong. 

 

 

Top 3 High Tang Makeup Trends! 

 

1. Fēi Xiá Zhuāng 飞霞妆 ( ~ 721 AD)

Also known as "Peach blossom makeup", contains delicate peach-colored blush with skinny rounded brows. Huadian is intricate and soft, typically thin lines and ornate designs. Metal appliqués could be applied. Lips are painted centrally for a rose bud look.

 

2. Jiǔ Yūn Zhuāng 酒晕妆 (~ 742 AD)

Also known as "Drunken makeup", resembling the typical "Asian flush" Asian people have after drinking alcohol. Extremely intense blush & brows, lips are painted on fully. Paired with chunky huadian forehead designs like peaches, circles, or round flowers. Flushed & swollen look. 

3. Tiānbǎo Era 天宝 (~ 756 AD)

The Tianbao Era was the peak of Tang prosperity, reflected in the abundant mianye marks. Small red dots were placed all over the face to bring attention to the woman's facial beauty. The mianye dots around the mouth are transformed into flowers. Paired with short, downturned eyebrows for a youthful look. Described by court officials as "soft and gentle like a lotus". 

. . .

Other Popular High Tang Trends:

Falling Phoenix Makeup

. . .

Lei Zhuang 泪妆 "Tear Makeup"

White flowers drawn on in white paint or pasted on pearls. Legend has it that this was the makeup favored by the imperial concubines during the Tianbao period. Wang Renyu's Kaiyuan Tianbao Yishi states:

"The imperial concubines in the palace applied white powder on their cheeks, which was called tear makeup. Those who knew about it thought it was a bad omen, and later there was the An Lushan Rebellion."

. . .

Bai Zhuang Hei Mei  白妆黑眉 "White Base Black Eyebrows"

According to legend, the makeup style was invented by Yang Guifei who was said to have a pale face and eyebrows painted black with ink.

. . .

Clothing of the High Tang 

盛唐 713 - 766 A.D.

Striped skirts are OUT and floral prints are IN! 

The High Tang period was a pinnacle of artistic and cultural prosperity, and fashion during this time reflected the vibrance of the era. Unlike the simplicity of Early Tang color-blocking and willowy silhouettes, High Tang fashion was bold, colorful, and romantic, showcasing the dynasty’s embrace of exuberance and diversity.

Thanks to the shift in body ideals from skinny to curvy, skirts could now sit above the bust with ease (now possible larger breasts). This created what we now know as Qixiong Ruqun 齐胸襦裙, or "chest-high ensembles". These ensembles are long, flowing, and ethereal, creating an other-worldly aura. 

Shirts became a second thought, usually light and single-layered pieces that sat completely beneath the skirt. Sleeves were widened and elongated for an extra romantic flow.

While tops came in cute prints, they were mainly used as a contrasting piece for the skirt. As the star of the show, the chest-high skirt came in a dizzying amount of various prints and patterns. 

From tight checkers, to large flower mandalas, to simple wood-block print - these long skirts created a truly magnificent aura to the wearer. The use of large, robust floral prints and large emblems were oftentimes inspired by Buddhist mandalas. These patterns were intricately woven, embroidered, tie-dyed, or wood-blocked onto fabrics.  

Goddess-like fashions were complimented by Pibo 披帛, long decorative shawls that could be draped in all sorts of ways. Tucked into skirts, draped over the shoulders, an off-shoulder loop around the body, this was a key accessory for any Tang Dynasty fashionista! 

A unique and progressive trend during the High Tang period was women adopting men’s clothing as a form of fashion. This was not only a signal of the shifting dynamics of gender roles, influenced by the legacy of strong female figures such as Empress Wu Zetian and other women joining politics, but also highlighted the freedom and innovation of the time.

Women were often seen wearing men's yuanlingpao 圆领袍 (round collar robes) and men's banbi (short jackets), even adding traditionally male headwear and black boots. They would combine this typically male attire with the strong feminine makeup of the era, which was both a fashion statement and a symbol of confidence and empowerment.

Not only would they combine full glam and traditionally male fashions, they would play typically male sports and games, such as soccer and polo! Eventually, dark masculine prints were replaced with the typical romantic florals and pastels of this period. 

 

• Qixiong Ruqun  齐胸襦裙 - Typical ensemble of the era. Literally translates as "chest-high shirt skirt combination".
• Banbi  半臂 - cropped short-sleeve jackets for women, long hem short-sleeved jacket for men. Typically worn beneath garments in this period. 
• Mushroom Hair - rounded, drooping hairstyles that look like a mushroom cap
• Yuanlingpao 圆领袍 - round collar robe. Originates from Western and Northern Asia during early Silk Road trade and border conflicts. Worn by men while riding, worn by women after the Tang Dynasty.

• Round & Voluptuous figures are preferred, sign of good health, beauty, and wealth. Large figures needed for the styles of dress.
• Opulent Prints in every shade of the rainbow - the more patterns you had, the better! 
• Pibo 披帛 - long decorative shawls. Tucked and draped for maximum ethereal elegance. 

 

 

Makeup of the Middle Tang 

中唐 766 - 835 A.D.

The Middle Tang period marked a shift in both society and fashion as the empire navigated the aftermath of the An Lushan Rebellion (755 – 763 A.D.). The rebellion had profound social and economic effects on the Tang Dynasty, leading to a more somber and reflective cultural atmosphere.

This change was vividly reflected in the makeup trends of the time, which moved away from the exuberance of the High Tang and adopted more varied, subdued, and dramatic styles. The country was fractured, and thus makeup and fashion trends depended on the region.

In the post-rebellion era, makeup generally became lighter, embodying the sober mood of a society still recovering from upheaval. Lighter bases, lighter blush, and subdued or upturned eyebrows became commonplace among Tang women. 

Huadian transitioned from bold red to pale shades of blue and green, creating a more dainty and subtle effect on the face. Lipsticks became lighter as well, however daring women would opt for dark black, burgundy, and browns lip colors. 

Within the imperial court, a trend emerged that was anything but understated: “gothic” styles that conveyed drama, mystery, and intensity. Dark lips, bloodied marks along the face, and dramatic "sad" eyebrows. 

Palace ladies began experimenting with more graphic and unconventional makeup, taking inspiration from the bloody battles and turbulence of the era. These styles were bold and artistic, featuring elements that defied traditional beauty norms.

One striking trend during the Middle Tang was the use of scratch marks and large, painted cuts, which were sometimes applied to the temples or cheeks. Eyebrows were partially or fully shaved to create dramatic upturned eyebrows. Sometimes eyebrows wouldn't be drawn at all, in stead of large forehead claw marks. 

It's important to note that it was not until the end of the eighth century and the beginning of the ninth century that various unconventional and unique makeup styles began to emerge one after another.

Court ladies of the Middle Tang began creating truly stark, striking looks that highlighted facial bone structure. Complimented by sharp, jagged hairstyles and darker toned clothing, they convey an aura of horrifying yet captivating beauty.

Despite the dramatic palace trends, many women outside the court opted for a more understated look reflecting the desire for simplicity and normalcy in challenging times.

Middle Tang makeup has a certain duality: dark and gothic, versus simple and light. As people struggled to rebuild the stability of the country, fashion and art took a back burner in lieu of the rebellion. 

 

 

Top 3 Middle Tang Makeup Trends! 

 

1. Zhēn Yúan Tí Zhuāng 贞元 啼妆 ( ~ 785 AD)

 

Also known as "crying makeup" as a reference to the blush style. Sharp lines around the blush as if tears had rolled down your cheeks. Inspired by a consort who is said to have cried her makeup off in this manner. Paired with Bā 八 “Number Eight” eyebrows, thin and slightly upturned. Light and simple huadian forehead design, typically in a pale blue, green, purple, or pink. 

 

2. Yúan Hé Shí Shì Zhuāng 元和时世妆 ( ~ 806 AD)

Instead of using rouge or pale powder, the nomadic people's custom of "ochre face" (dark yellow) was used as blush. Large, abstract frowning brows and dark lips were painted on. Scratch marks were optional but preferred!

There is a famous passage of this outlandish makeup style:

 

"The fashion of the times is not limited to people. No rouge is applied to the cheeks or powder is applied to the face. Black cream is applied to the lips until they look like mud, and the eyebrows are drawn in a low shape. Beauty and ugliness, black and white, lose their original appearance, and makeup makes them look like they are crying. The hair is round and drooping like a bun, and the slanting red does not make the face look like ochre."

—Bai Juyi, Tang Dynasty, "Makeup of the Times"

2. Xiǎn Zhuāng 险妆 (  ~ 820 AD)

To achieve this bizarre look, you'll have to shave off your eyebrows and pluck the forehead. In true Elizabethan fashion, hair in front of the forehead was shaved to move the hairline up, making the forehead wider. Interestingly, this makeup came into popularity after the previous bloodied makeup styles had become "outdated".

The focus of makeup at this time was to draw eyebrow makeup on the forehead for a broadened look. Typically in large smoky, claw mark shapes. Sometimes rouge would be placed upon the new brows to create an interesting shaded effect.

 

A small passage was written about this style:

 

"One day, new makeup is thrown away, and the six palaces compete to draw black smoky eyebrows."

—"Palace Song" by Xu Ning of the Tang Dynasty

. . .

Other Popular Middle Tang Trends:

Delicate Cool Tones:

 

Xǔe Yùn Zhuāng 血晕妆 "Blood Stain Makeup"

Women would shave off eyebrows and drew three or four long red-purple marks above and below his eyes, like long scratch marks. These lines would remain a popular feature in women's makeup, and could be combined with other makeup styles like Shishi Zhuang. 

 

"Women remove their eyebrows and apply three or four horizontal lines of red and purple around the eyes. This is called 'blood-stained makeup'."

—Wang Dan, Song Dynasty, "Tang Yu Lin"

. . .

Clothing of the Middle  Tang 

中唐 766 - 835 A.D.

Middle Tang fashion captured a complicated essence of a society navigating the aftermath of major political upheaval. Dramatic expression is combined with modest practicality. This period retained the Qixiong Ruqun 齐胸襦裙 silhouette but introduced new elements that reflected the era’s evolving aesthetics.

As society moved through challenging times, fashion embraced more dramatic tone. Deep, rich colors such as dark reds, emerald greens, deep purples, and dark blues became popular, symbolizing the period's solemnity. These dark colors would be incorporated one at a time, or all at once for a full gothic look. 

 

Although darker colors became trendy, colorful clothing of course remained in style. The garments often featured intricate dye techniques, such as the iconic wide horizontal striped dye patterns.

As opposed to Early Tang vertical stripes that make you long and slender, these horizontal stripes make the figure gentler and fuller. The Middle Tang period was notable for its experimentation with prints and dyes, showcasing a continued love for artistry and innovation despite the political climate.

 Along with horizontally dyed stripes, fish scale print skirts became popular as the original mermaid-aesthetic. Intricate floral prints are replaced with cleaner, minimalistic style flowers.  

Sleeves grew considerably wide, long, and flowing. Women would layer various colors of shirts, short sleeve jackets (banbi, 半臂), and long sleeve jackets (daxiushan, 大袖衫) to create depth to the ensemble.

As seen above, the aesthetics of the Middle Tang can range widely and can look similar to High Tang clothing. A good trick to tell the difference between Middle and High Tang is the makeup and hair.

Middle Tang hair tends to have bulbous budding-flower shapes, as opposed to High Tang droopy mushroom cap hair. Middle Tang makeup tends to have a lighter and cool toned feel, or dramatic and gothic feel. Compare to the drunken and flushed makeup styles of the High Tang.    

 

. . .

Fashion Trends of the Middle Tang

• Yúlín Qún 鱼鳞裙 - fish scale skirt, crafted with tie-dye techniques. Weirdly enough, there was a bit of a mermaid fad during this era.
• Pointy Hairstyles - court ladies of the period would create tower-like structures with their hair. Often layering 3-4 decorative combs on the front of the spire. Spikes could point outwards as well, creating interesting starfish-shaped hairstyles. 
• Darker Colors - although this is more commonly seen in Middle & Late Tang, bright and colorful outfits were still prevalent. Colors became stronger and more vivid, prints were simplified and abstract. 

. . .

 

 

Makeup of the Late Tang 

晚唐 835 - 907 A.D.

As the Tang Dynasty neared its conclusion, trends entered what we here at Nüwa Hanfu like to call the "halo" or "angel" era, marked by the use of elaborate hairstyles and hairpins placed in a sun ray formation, creating a radiant and celestial appearance. 

Makeup trends became increasingly ornate, however some gothic features like bloodied scratch marks, upturned brows, and black lipstick from the Middle Tang remained. During the Late Tang, the main focus was on even more elaborate and even more decorative looks.

Multiple huadian forehead designs, xiehong temple embellishments, and mianye dimple dots were applied, turning the face into a canvas. These small stamps could contain a multitude of motifs, including: lakes, swans, rainclouds, flowers, leaves, blood drops, and even flying phoenixes.

Delicate touches, such as flower petals and pearls further enhanced the goddess-like appearance sought after by women of the time. Hair was pulled into tall beehive hairdos, large rings, flower shaped buns, and gravity-defying intricate masterpieces. 

For most women, dark and dramatic eyebrows gave way to more refined and softer shapes, emphasizing a gentle and sophisticated appearance. Black lipsticks were traded in for red, ochre blush was put down in stead of light peaches. 

As the country remained fractured, makeup styles during the Late Tang varied significantly across regions and social classes. Wealthier women, particularly those depicted in the Dunhuang cave donor paintings, showcase opulence with layers of intricate facial designs and bold colors.

For most women, flower ornaments, rouge, and dimples are no longer the focus of daily makeup. Instead, they are used occasionally for special occasions or formal attire. 

 

 

Top 3 Early Tang Makeup Trends! 

 

1. Niǎo Yè 鸟靥 ( ~ 835 AD)

These fun bird markings are typically placed within lake-shaped blush (half circle blush). From swans to phoenixes to pheasants, women would draw their favorite birds on their faces. Inverted swans were popular too, done with paper stencils and powdering blush over. 

 

 

2. Běi Yuàn Zhuāng 北苑妆 (  ~ 907 AD)

Moth eyebrows are the star of the show in this elegant look! These short, stubby brows are drawn at an angle, creating a lifted and serene facial expression. Huadian forehead markings are small and minimalistic. Lips are drawn on in the tightest rose bud shape possible. 

2. Jīn Yè 金靥 (  ~ 950 AD)

Golden markings made with yellow blush or actual gold if you were rich enough. Paired with skinny and curved brows, the golden yellow was reminiscent of buddhist sculptures and Northern Southern makeup styles. 

 

A passage was written by Sun Guangxian:

"The powder is half-sticky on the golden cheeks" 

Wen Tingyun wrote:

"The face is covered with fine golden clouds"

 

. . .

Other Popular High Tang Trends:

All-Over Decorations

 

. . . 

Flower Petals

 

. . . 

Single Flower

 

. . .

 

 

 

Clothing of the Late Tang 

835 - 907 A.D.

As the Tang Dynasty approached its twilight, fashion reached its final pinnacle of extravagance. This period is often regarded as the Final Huzzah! Fabrics, prints, hairstyles, everything was at its ultimate limit. Dizzying combinations of stunning patterns, contrasting and complimentary color combos, all came together to create some truly celestial fashions. 

One of the most striking features of Late Tang fashion was the lengthening of both skirts and sleeves. Skirts became longer, trains of fabric would follow behind, sweeping the floor. Showcasing the impressive silks and dyes, most commonly in bursting floral designs. 

Sleeves grew more voluminous and elongated as well, dropping sharply from the shoulder down to the knees. These long, billowing sleeves added a sense of fluidity and grandeur, creating a regal air that mirrored the elaborate and angelic makeup trends of the time.

As fashion evolved, the structure of garments became more simplified, shedding some of the more cumbersome layers that were common in earlier periods. This simplification led to the widespread adoption of wearing the Hézi 何子 (undergarment) over the skirt, or showing it openly beneath garments. (Red top in left figure) 

Nowadays, Hézi 何子 bands are sewn into the skirt. 

Hezi 何子 is constructed with a single band of fabric tied on around the chest. During the Late Tang, it became popular to layer these undergarments on the outside of the skirts, eventually leading to various embroidered and ornate Hezi 何子.

These bands of fabric could come in different shapes as well, such as an gentle arch or scallop hem. The hezi would sit above the chest, making it seem as though the skirt was sitting further up on the bust. 

Wearing a chest-high skirt without an inner shirt became popular among court ladies. The result was a slightly sultry, elegant, and relaxed aesthetic. Skirts without inner shirts could be paired with hezi. Short shirts or a long sleeved jacket were be layered over the skirt/

The fashion of the Late Tang period was a final testament to the dynasty’s prosperity, cultural richness, and love for aesthetic beauty. While other elements of society might have been fraying, the clothing reflected a nostalgic embrace of luxury and splendor. The combination of long, flowing garments and angelic aesthetic captured the essence of an era determined to celebrate its legacy, even as it approached the end.

 

• Daxiushan 大袖衫 - Long sleeved shirts, extra long sleeves for extra drama
• Hézi 何子 - undergarments are now outergarments. Embroidered designs or simple bands, can be separate or sewn onto the skirt. Various shapes, but typically raised onto the upper chest.
• While most hairstyles fall into the "halo" effect (ornate with flaring hair accessories), some asymmetrical styles became popular. 

 

. . .

 

Overview of the Evolution 

Over the course of a few hundred years, there's been so much change! What a journey it has been through the world of Tang Dynasty makeup and fashion.

From the modest elegance of the Early Tang to the dramatic flourishes of the High Tang, and finally, the ethereal opulence of the Late Tang. Each era tells a unique story of cultural shifts, creativity, and the ideals of beauty that defined an age.

Exploring these trends reveals just how deeply art, identity, and society intertwined, creating looks that were as symbolic as they were stunning. From the detailed huadian to sweeping, long skirts and bold eyebrow styles, every element carried meaning and expressed the spirit of its time.

 

 . . .

 

4. Men's Fashion During the Tang Dynasty

Men's fashion in the Tang Dynasty was defined by a blend of practicality, elegance, and enduring style that would influence Chinese menswear for centuries.

The typical attire for men consisted of several layers, starting with:

1. Basic round collar or crossed collar undershirt
2. Wide leg trousers, typically made with an open crotch for accessibility
3. Banbi 半臂, a short-sleeved garment with a cross collar and long hem in men's designs (cropped jacket for women). Sometimes made in fun prints, brocades, or funky colors that allowed it to pop through opened outer layers. 
4. Yúanlǐngpáo 圆领袍, a robe originating from Central and Northern Asia. Characterized by its round collar, long side slits, and overlapping panel design. Worn popularly by men, during the Tang Dynasty it became a popular garment for women as well. Belted at the waist with a fabric tie or leather belt.
5. Paired with Xuē 靴, knee-high black leather boots that completed the look.

Attached to the belt, a small wallet or pouch was commonly carried for convenience.

Upper class men had access to luxurious robes, made with shining brocades and intricate patterns. These special robes were called Jinpao  金袍 or "golden robes". 

Variations of the round collar robe could contain higher, raised collars for wind-proof qualities;  lower, rounder collars for summer outfits; and fur-lined versions for winter. Sleeve lengths varied, as did inner linings. Lining could be crafted with contrasting colors or double-lined throughout for a reversible effect. 

Men would leave one shoulder untucked, leave the jacket sitting open being held up by the belt, or leave a single panel unbuttoned. This was a versatile garment that allowed for unlimited styling options, partly contributing to its long lasting popularity.

Popular outerwear such as Pi Ao  披袄 (cloak) and actual full-body cloaks were worn while horse-riding or during chilly days. All garments during this period prioritized mobility and ability to ride horses, featuring side slits and large silhouettes to encompass sitting area. 

. . .

Male Headwear of the Tang Dynasty 

Headwear played a significant role in men’s attire, signifying social status, keeping hair clean, and most importantly: completing the ensemble.

Fútóu 幞头 /  Fújīn 幅巾

 

The Fútóu 幞头 (also known as  Fújīn 幅巾), a soft, turban-style headwrap that could be tied in various ways. A bun cage is placed underneath the wrap, creating the desired head shape.

 

Ziman  緇縵 / Toujin  頭巾

Other notable headwear like the Ziman 緇縵 (AKA Toujin 頭巾) were worn by laborers. A simple, lightweight cloth head wrap often only covering the bun, leaving most of the head exposed.  

 

Chúijiǎo Futou  垂腳襆頭

Chúijiǎo Futou 垂腳襆頭 or "winged hat". An early form of informal headwear dating back to the Jin Dynasty. Features starched tails that stick outward, either high or low. Worn by men for various occasions. 

 

Fēngmào 凤帽

And the Fēngmào 凤帽, or wind cap. Worn during travel, sport, and daily life. Has a conular bean-shape and chin ties to secure in place. 

 

. . .

 

 

Editor's Note

And there you have it—a whirlwind tour through the makeup, fashion, history of the legendary Tang Dynasty! A rather long deep dive, but the most thorough information that I wish I could've had when starting my hanfu history journey. 

From the minimalist elegance of the Early Tang to the bold statements of the High Tang and the ethereal opulence of the Late Tang, we've seen how style evolved with the times, capturing the heart and spirit of an era that truly loved to express itself.

I'll tell you one thing: The Tang Dynasty knew how to make a statement. These trends, rooted in creativity and cultural vibrancy, remind us that fashion and beauty have always been more than skin deep—they’re reflections of identity, power, and a society’s view of the world.

They're also a fantastic reminder that beauty can be whatever you want it to be. The women of the past never held back with taking their style to new heights, and honestly - that's something we should all aspire to do. 

Thanks for joining me on this journey through silks, powders, pins, and boots. Who knew historical could be so diverse and fascinating? If this has sparked your inner Tang fashionista or inspired you to try a huadian for yourself, then I’d say we’ve done the dynasty proud.

Until next time, many blessings to you my goddesses ~ ✨

Chuyan Wang

 (it's 2:44 am oh god)